  The Marmorata—Arco di S. Lazzaro—Protestant Cemetery—Pyramid of Caius Cestius—Monte-Testaccio—Porta S. Paolo—Chapel of the Farewell—The Tre Fontane (SS. Vincenzo ed Anastasio—Sta. Maria Scala Coeli—S. Paolo alle Tre Fontane)—Basilica and Monastery of S. Paolo. BEYOND the Piazza Bocca della VeritÀ, the Via della Marmorata is spanned by an arch which nearly marks the site of the Porta Trigemina, by which Marius fled to Ostia before Sylla in B.C. 88. Near this stood the statue erected by public subscription to Minucius, whose jealousy brought about the execution of the patriot MÆlius, B.C. 440. Here also was the temple of Jupiter Inventor, whose dedication was attributed to the gratitude of Hercules for the restoration of his cattle, carried off by Cacus to his cave on the neighbouring Aventine. It was at the Porta Trigemina that Camillus (B.C. 391), sent into exile to Ardea by the accusations of the plebs, stayed, and, stretching forth his hands to the Capitol, prayed to the gods who reigned there that if he was unjustly expelled, Rome might "one day have need of Camillus." Passing the arch, the road skirts the wooded escarpment "De ce cÔtÉ, entre l'Aventin et le Tibre, hors de la porte Trigemina, Étaient divers marchÉs, notamment le marchÉ aux bois, le marchÉ À la farine et au pain, les horrea, magasins de blÉs. Le voisinage de ces marchÉs, de ces magasins et de l'emporium, produisait un grand mouvement de transport et fournissait de l'occupation À beaucoup de portefaix. Plaute From the landing-place for modern Carrara marble, a new road on the right, planted with trees, leads along the river to the ancient Marmorata, discovered 1867—68, when many magnificent blocks of ancient marble were found buried in the mud of the Tiber. Recent excavations have laid bare the inclined planes by which the marbles were landed, and the projecting bars of stone with rings for mooring the marble vessels. In the neighbouring vineyard are the massive ruins of the Emporium, or magazine for merchandise, founded by M. Æmilius Lepidus and L. Æmilius Paulus, the Ædiles in B.C. 186. Upon the ancient walls of this time is engrafted a small and picturesque winepress of the fifteenth century. The neighbouring vineyard is much frequented by marble collectors. A short distance beyond the turn to the Marmorata the main road is crossed by an ancient brick arch, called Arco di S. Lazzaro, or Arco della Salara, by the side of which is a hermitage. About half a mile beyond this we reach the Porta S. It was here, just within the Ostian Gate, that the Emperor Claudius, returning from Ostia to take vengeance upon Messalina, was met by their two children, Octavia and Britannicus, accompanied by a vestal, who insisted upon the rights of her Order, and imperiously demanded that the empress should not be condemned undefended. "Totila entra par la porte Asinaria et une autre fois par la porte Ostiensis, aujourd'hui porte Saint-Paul; par la mÊme porte, GensÉric, que la mer apportait, et qui, en s'embarquant, avait dit À son pilote: 'Conduis-moi vers le rivage que menace la colÈre divine.'"—AmpÈre, Emp. ii. 325. Close to this, is the famous Pyramid of Caius Cestius. It is built of brick, coated with marble, and is 125 feet high, and 100 feet wide at its square basement. In the midst is a small sepulchral chamber, painted with arabesques. Two inscriptions on the exterior show that the Caius Cestius buried here was a prÆtor, a tribune of the people, and one of the "Epulones" appointed to provide the sacrificial feasts of the gods. He died about 30 B.C., leaving Agrippa as his executor, and desiring by his will that his body might be buried, wrapped up in precious stuffs. Agrippa, however, applied to him the law which forbade luxurious burial, and spent the money, partly upon the pyramid and partly upon erecting two colossal statues in honour of the deceased, of which the pedestals have been found near the tomb. In the middle ages this was supposed to be the sepulchre of Remus. "Cette pyramide, sauf les dimensions, est absolument semblable aux pyramides d'Égypte. Si l'on pouvait encore douter que celles-ci "St. Paul was led to execution beyond the city walls, upon the road to Ostia. As he issued forth from the gate, his eyes must have rested for a moment on that sepulchral pyramid which stood beside the road, and still stands unshattered, amid the wreck of so many centuries, upon the same spot. That spot was then only the burial-place of a single Roman; it is now the burial-place of many Britons. The mausoleum of Caius Cestius rises conspicuously amongst humbler graves, and marks the site where Papal Rome suffers her Protestant sojourners to bury their dead. In England and in Germany, in Scandinavia and in America, there are hearts which turn to that lofty cenotaph as the sacred point of their whole horizon; even as the English villager turns to the grey church tower, which overlooks the grave-stones of his kindred. Among the works of man, that pyramid is the only surviving witness of the martyrdom of St. Paul; and we may thus regard it with yet deeper interest, as a monument unconsciously erected by a pagan to the memory of a martyr. Nor let us think they who lie beneath its shadow are indeed resting (as degenerate Italians fancy) in unconsecrated ground. Rather let us say, that a spot where the disciples of Paul's faith now sleep in Christ, so near the soil once watered by his blood, is doubly hallowed; and that their resting-place is most fitly identified with the last earthly journey, and the dying glance of their own patron saint, the apostle of the Gentiles."—Conybeare and Howson. At the foot of the Pyramid is the Old Protestant Cemetery, a lovely spot, now closed. Here is the grave of Keats, with the inscription: "This grave contains all that was mortal of a young English poet, who, on his death-bed, in the bitterness of his heart at the malicious power of his enemies, desired these words to be engraven on his tombstone: 'Here lies one whose name was writ in water.' February 24, 1821." "Go thou to Rome—at once the paradise, The grave, the city, and the wilderness; And where its wrecks like shattered mountains rise, And flowering weeds, and fragrant copses dress The bones of desolation's nakedness, Pass, till the spirit of the spot shall lead Thy footsteps to a slope of green access, Where, like an infant's smile, over the dead, A light of laughing flowers along the grass is spread, "And grey walls moulder round, on which dull Time Feeds, like slow fire upon a hoary brand; And one keen pyramid, with wedge sublime, Pavilioning the dust of him who planned This refuge for his memory, doth stand Like flame transformed to marble; and beneath A field is spread, on which a newer band Have pitched in Heaven's smile their camp of death, Welcoming him we lose with scarce extinguished breath." Shelley's Adonais. Very near the grave of Keats is that of Augustus William Hare, the elder of the two brothers who wrote the "Guesses at Truth," ob. 1834. "When I am inclined to be serious, I love to wander up and down before the tomb of Caius Cestius. The Protestant burial-ground is there, and most of the little monuments are erected to the young—young men of promise, cut off when on their travels full of enthusiasm, full of enjoyment; brides, in the bloom of their beauty, on their first journey; or children borne from home in search of health. This stone was placed by his fellow-travellers, young as himself, who will return to the house of his parents without him; that, by a husband or a father, now in his native country. His heart is buried in that grave. "It is a quiet and sheltered nook, covered in the winter with violets; and the pyramid, that overshadows it, gives it a classic and singularly solemn air. You feel an interest there, a sympathy you were The New Burial Ground was opened in 1825. It extends for some distance along the slope of the hill under the old Aurelian Wall, and is beautifully shaded by cypresses, and carpeted with violets. Amid the forest of tombs we may notice that which contains the heart of Shelley (his body having been burnt upon the shore at Lerici, where it was thrown up by the sea), inscribed: "Percy Bysshe Shelley, Cor Cordium. Natus IV. Aug. MDCCXCII. Obiit VIII. Jul. MDCCCXXII. 'Nothing of him that doth fade, But doth suffer a sea change Into something rich and strange.'" Another noticeable tomb is that of Gibson the sculptor, who died 1868. From the fields in front of the cemetery (Prati del Popolo Romano) rises the Monte Testaccio, only 160 feet in height, but worth ascending for the sake of the splendid view it affords. The extraordinary formation of this hill, which is entirely composed of broken pieces of pottery, has long been an unexplained bewilderment. "Le Monte-Testaccio est pour moi des nombreux problÈmes qu'offrent les antiquitÉs romaines le plus difficile À rÉsoudre. On ne peut s'arrÊter À discuter sÉrieusement la tradition d'aprÈs laquelle il aurait ÉtÉ formÉ avec les dÉbris des vases contenant les tributs qu'apportaient À Rome les peuples soumis par elle. C'est lÀ Évidemment une lÉgende du moyen Âge nÉe du souvenir de la grandeur romaine et imaginÉe pour exprimer la Just outside the Porta S. Paolo is (on the right) a vineyard which belonged to Sta. Francesca Romana (born 1384, canonized 1608 by Paul V.). "Instead of entering into the pleasures to which her birth and riches entitled her, Sta. Francesca went every day, disguised in a coarse woollen garment, to her vineyard, and collected faggots, which she brought into the city on her head, and distributed to the poor. If the weight exceeded her womanly strength, she loaded therewith an ass, following after on foot in great humility."—Mrs. Jameson's Monastic Orders. A straight road a mile and a half long leads from the gate to the basilica. Half way (on the left) is the humble chapel which commemorates the farewell of St. Peter and St. Paul on their way to martyrdom, inscribed: "In this place SS. Peter and Paul separated on their way to martyrdom. "And Paul said to Peter, 'Peace be with thee, Foundation of the Church, Shepherd of the flock of Christ.' "And Peter said to Paul, 'Go in peace, Preacher of good tidings, and Guide of the salvation of the just.'" Passing the basilica, which looks outside like a very ugly railway station, let us visit the scene of the martyrdom, before entering the grand church which arose in consequence. The road we now traverse is the scene of the legend of Plautilla. "St. Paul was beheaded by the sword outside the Ostian gate, about two miles from Rome, at a place called the Aqua Salvias, now the 'Tre Fontane.' The legend of his death relates that a certain Roman matron named Plautilla, one of the converts of St. Peter, placed herself on the road by which St. Paul passed to his martyrdom, to behold him for the last time; and when she saw him she wept greatly, and besought his blessing. The apostle then, seeing her faith, turned to her, and begged that she would give him her veil to blind his eyes when he should be beheaded, promising to return it to her after his death. The attendants mocked at such a promise, but Plautilla, with a woman's faith and charity, taking off her veil, presented it to him. After his martyrdom, St. Paul appeared to her, and restored the veil stained with his blood. "In the ancient representations of the martyrdom of St. Paul, the legend of Plautilla is seldom omitted. In the picture by Giotto in the sacristy of St. Peter's, Plautilla is seen on an eminence in the background, receiving the veil from the hands of St. Paul, who appears in the clouds above; the same representation, but little varied, is executed in bas-relief on the bronze doors of St. Peter's."—Jameson's Sacred Art. The lane which leads to the Tre Fontane turns off to the left a little beyond S. Paolo. "In all the melancholy vicinity of Rome, there is not a more melancholy spot than the Tre Fontane. A splendid monastery, rich with all the offerings of Christendom, once existed there: the ravages of that mysterious scourge of the Campagna, the malaria, have rendered it a desert; three ancient churches and some ruins still exist, and a few pale monks wander about the swampy dismal confines of the hollow in which they stand. In winter you approach them through a quagmire; in summer, you dare not breathe in their pestilential vicinity; and yet there is a sort of dead beauty about the place, something hallowed as well as sad, which seizes on the fancy."—Jameson's Sacred Art. The convent was bestowed in 1867 by Pius IX. upon the French Trappists, and twelve brethren of the Order went to reside there. Entering the little enclosure, the first church on the right is Sta. Maria Scala Coeli, supposed to occupy the site of the cemetery of S. Zeno, in which the 12,000 Christians employed in building the Baths of Diocletian were buried. The present edifice was the work of Vignola and The second church is the basilica of SS. Vincenzo ed Anastasio, founded by Honorius I. (625), and restored by Honorius III. (1221), when it was consecrated afresh. It is approached by an atrium with a penthouse roof, supported by low columns, and adorned with decaying frescoes, among which the figure of Honorius III. may be made out. The interior, which reeks with damp, is almost entirely of the twelfth century. The pillars are adorned with coarse frescoes of the apostles. "S. Vincenzo alle Tre Fontane so far deviates from the usual basilican arrangement as almost to deserve the appellation of gothic. It has the same defect as all the rest—its pier arches being too low, for which there is no excuse here; but both internally and externally it shows a uniformity of design, and a desire to make every part ornamental, that produces a very pleasing effect, although the whole is merely of brick, and ornament is so sparingly applied as only just to prevent the building sinking to the class of mere utilitarian erections."—Fergusson's Handbook of Architecture, vol. ii. The two saints whose relics are said to repose here were in no wise connected in their lifetime. S. Vincenzo, who suffered A.D. 304, was a native of Saragossa, cruelly tortured to death at Valencia, under Dacian, by being racked on a slow fire over a gridiron, "of which the bars were framed like scythes." His story is told with horrible detail by Prudentius. Anastasius, who died A.D. 628, was a native of Persia, who had become a Christian and taken the monastic habit at a convent near The third church, S. Paolo alle Tre Fontane, was built by Giacomo della Porta for Cardinal Aldobrandini in 1590. It contains the pillars to which St. Paul is said to have been bound, the block of marble upon which he is supposed to have been beheaded, and the three fountains which sprang forth, wherever the severed head struck the earth during three bounds which it made after decapitation. In proof of this story, it is asserted that the water of the first of these fountains is still warm, of the second tepid, of the third cold. Three modern altars above the fountains are each decorated with a head of the apostle in bas-relief. "A la premiÈre, l'Âme vient À l'instant mÊme de s'Échapper du corps. Ce chef glorieux est plein de vie! A la seconde, les ombres de la mort couvrent dÉjÀ ses admirables traits; À la troisiÈme, le sommeil Éternel les a envahis, et, quoique demeurÉs tout rayonnants de beautÉ, ils disent, sans parler, que dans ce monde ces lÈvres ne s'entr'ouvriront plus, et que ce regard d'aigle s'est voilÉ pour toujours."—Une ChrÉtienne À Rome. The pavement is an ancient mosaic representing the Four Seasons, brought from the excavations at Ostia. The interior of this church has been beautified at the expense of a French nobleman, and the whole enclosure of the Tre Fontane has been improved by Mgr. de Merode. "As the martyr and his executioners passed on (from the Ostian gate), their way was crowded with a motley multitude of goers and comers between the metropolis and its harbour—merchants hastening to superintend the unlading of their cargoes—sailors eager to squander the profits of their last voyage in the dissipations of the capital—officials of the government charged with the administration of the provinces, or the command of the legions on the Euphrates or the Rhine—Chaldean astrologers—Phrygian eunuchs—dancing-girls from Syria, with their painted turbans—mendicant priests from Egypt, howling for Osiris—Greek adventurers, eager to coin their national cunning into Roman gold—representatives of the avarice and ambition, the fraud and lust, the superstition and intelligence, of the Imperial world. Through the dust and tumult of that busy throng, the small troop of soldiers threaded their way silently, under the bright sky of an Italian midsummer. They were marching, though they knew it not, in a procession more really triumphal than any they had ever followed, in the train of general or emperor, along the Sacred Way. Their prisoner, now at last and for ever delivered from captivity, rejoiced to follow his Lord 'without the gate.' The place of execution was not far distant, and there the sword of the headsman ended his long course of sufferings, and released that heroic soul from that feeble body. Weeping friends took up his corpse, and carried it for burial to those subterranean labyrinths, where, through many ages of oppression, the persecuted Church found refuge for the living, and sepulchres for the dead. "Thus died the apostle, the prophet, and the martyr, bequeathing to the Church, in her government, and her discipline, the legacy of his apostolic labours; leaving his prophetic words to be her living oracles; pouring forth his blood to be the seed of a thousand martyrdoms. Thenceforth, among the glorious company of the apostles, among the goodly fellowship of the prophets, among the noble army of martyrs, his name has stood pre-eminent. And wheresoever the holy Church throughout all the world doth acknowledge God, there Paul of Tarsus is revered, as the great teacher of a universal redemption and a catholic religion—the herald of glad tidings to all mankind."—Conybeare and Howson. Let us now return to the grand Basilica which arose to commemorate the martyrdom on this desolate site, and which is now itself standing alone on the edge of the Campagna, entirely deserted except by a few monks who The first church on this site was built in the time of Constantine, on the site of the vineyard of the Roman matron Lucina, where she first gave a burial-place to the apostle. This primal oratory was enlarged into a basilica in 386 by the emperors Valentinian II. and Theodosius. The church was restored by Leo III. (795—816), and every succeeding century increased its beauty and magnificence. The sovereigns of England, before the Reformation, were protectors of this basilica—as those of France are of St. John Lateran, and of Spain of Sta. Maria Maggiore—and the emblem of the Order of the Garter may still be seen amongst its decorations. "The very abandonment of this huge pile, standing in solitary grandeur on the banks of the Tiber, was one source of its value. While it had been kept in perfect repair, little or nothing had been done to modernize it, and alter its primitive form and ornaments, excepting the later addition of some modern chapels above the transept; it stood naked and almost rude, but unencumbered with the lumpish and tasteless plaster encasement of the old basilica in a modern Berninesque church, which had disfigured the Lateran cathedral under pretence of supporting it. It remained genuine, though bare, as S. Apollinare in Classe, at Ravenna, the city eminently of unspoiled basilicas. No chapels, altars, or mural monuments softened the severity of its outlines; only the series of papal portraits, running round the upper line of the walls, redeemed this sternness. But the unbroken files of columns On the 15th of July, 1823, this magnificent basilica was almost totally destroyed by fire, on the night which preceded the death of Pope Pius VII. "Quelque-chose de mystÉrieux s'est liÉ dans l'esprit des Romains À l'incendie de St. Paul, et les gens À l'imagination de ce peuple parlent avec ce sombre plaisir qui tient À la mÉlancolie, ce sentiment si rare en Italie, et si frÉquent en Allemagne. Dans le grand nef, sur le mur, au dessus des colonnes, se trouvait la longue suite des portraits de tous les papes, et le peuple de Rome voyait avec inquiÉtude qu'il n'y avait plus de place pour le portrait du successeur de Pie VII. De lÀ les fruits de la suppression du saint-siÈge. Le vÉnÉrable pontife, qui Était presqu' un martyre aux yeux de ses sujets, touchait À ses derniers moments lorsqu'arriva l'incendie de Saint-Paul. Il eut lieu dans la nuit du 15 au 16 Juillet, 1823; cette mÊme nuit, le pape, presque mourant, fut agitÉ par un songe, qui lui prÉsentait sans cesse un grand malheur arrivÉ À l'Église de Rome. Il s'Éveilla en sursaut plusieurs fois, et demanda s'il n'Était rien arrivÉ de nouveau. Le lendemain, pour ne pas aggraver son État, on lui cacha l'incendie, et il est mort aprÈs sans l'avoir jamais su."—Stendhal, ii. 94. "Not a word was said to the dying Pius VII. of the destruction of St. Paul. For at St. Paul's he had lived as a quiet monk, engaged in study and in teaching, and he loved the place with the force of an early attachment. It would have added a mental pang to his bodily sufferings to learn the total destruction of that venerable sanctuary, in which he had drawn down by prayer the blessings of heaven on his youthful labour."—Wiseman, Life of Pius VII. The restoration of the basilica was immediately begun, and a large contribution levied for the purpose from all Roman Catholic countries. In 1854 it was re-opened in its present form by Pius IX. Its exterior is below contempt; its interior, supported by eighty granite columns, is most striking and magnificent, but it is cold and uninteresting If we approach the basilica by the door on the side of the monastery, we enter, first, a portico, containing a fine statue of Gregory XVI., and many fragments of the ancient mosaics, collected after the fire;—then, a series of small chapels which were not burnt, from the last of which ladies can look into the beautiful cloister of the twelfth century, which they are not permitted to enter, but which men may visit (through the sacristy), and inspect its various architectural remains, and a fine sarcophagus, adorned with reliefs of the story of Apollo and Marsyas. The church is entered by the south end of the transept. Hence we look down upon the nave (306 feet long and 222 wide) with its four ranges of granite columns (quarried near the Lago Maggiore), surmounted by a mosaic series of portraits of the popes, each five feet in diameter,—most of them of course being imaginary. The grand triumphal arch which separates the transept from the nave is a relic of the old basilica, and was built by Galla-Placidia, sister of Honorius, in 440. On the side towards the nave it is adorned with a mosaic of Christ adored by the twenty-four elders, and the four beasts of the Revelation;—on that towards the transept by the figure of the Saviour, between St Peter and St. Paul. It bears two inscriptions, the first: "Theodosius coepit,—perfecit Honorius aulam Doctoris mundi sacratam corpore Pauli." The other, especially interesting as the only inscription "PlacidiÆ pia mens operis decus homne (sic) paterni Gaudet pontificis studio splendere Leonis." The mosaics of the tribune, also preserved from the fire, were designed by Cavallini, a pupil of Giotto, in the thirteenth century, and were erected by Honorius III. They represent the Saviour with St. Peter and St Andrew on the right, and St Paul and St Luke on the left,—and beneath these twelve apostles and two angels. The Holy Innocents (supposed to be buried in this church!) are represented lying at the feet of our Saviour. "In the mosaics of the old basilica of S. Paolo the Holy Innocents were represented by a group of small figures holding palms, and placed immediately beneath the altar or throne, sustaining the gospel, the cross, and the instruments of the passion of our Lord. Over these figures was the inscription, H. I. S. Innocentes."—Jameson's Sacred Art. Beneath the triumphal arch stands the ugly modern baldacchino, which encloses the ancient altar canopy, erected, as its inscription tells us, by Arnolphus and his pupil Petrus, in 1285. In front is the "Confession," where the Apostle of the Gentiles is believed to repose. The baldacchino is inscribed: "Tu es vas electionis, Sancte Paule Apostole, PrÆdicator veritatis In universo mundo." It is supported by four pillars of Oriental alabaster, presented by Mehemet Ali, pasha of Egypt. The altars of malachite, at the ends of the transepts, were given by the Emperor Nicholas of Russia. "Les schismatiques et les mussulmans eux-mÊmes sont venus rendre hommage À ce souverain de la parole, qui entraÎnait les peuples au martyre et subjuguait toutes les nations."—Une ChrÉtienne À Rome. In a building so entirely modern, there are naturally few individual objects of interest. Among those saved The altar at the north end of the transept is dedicated to St. Paul, and has a picture of his conversion, by Camuccini. At the sides are statues of St. Gregory by Laboureur and of S. Romualdo by Stocchi. Of the chapels between this and the tribune, the first, dedicated to St. Stephen, has a statue of the saint, by Rinaldi; the second is dedicated to St. Bridget (Brigitta Brahe), and contains the famous crucifix of Pietro Cavallini, which is said to have spoken to her in 1370. "Not far from the chancel is a beautiful chapel, dedicated to St. Bridget, and ornamented with her statue in marble. During her residence in Rome, she frequently came to pray in this church; and here is preserved, as a holy relic, the cross from which, during her ecstatic devotion, she seemed to hear a voice proceeding."—Frederika Bremer. The upper walls of the nave are decorated with frescoes by Galiardi, Podesti, and other modern artists. The two great festivals of St. Paul are solemnly observed in this basilica upon January 25 and June 30, and that of the Holy Innocents upon December 28. Very near S. Paolo, the main branch of the little river Almo, the "cursuque brevissimus Almo" of Ovid, falls into the Tiber. This is the spot where the priests of Cybele used to wash her statue and the sacred vessels of her temple, and to raise their loud annual lamentation for the death of her lover, the shepherd Atys: "Est locus, in Tiberim quo lubricus influit Almo, Et nomen magno perdit ab amne minor, Illic purpurea canus cum veste sacerdos, Almonis dominam sacraque lavit aquis." Ovid, Fast. iv. 337. "PhrygiÆque matris Almo quÀ levat ferrum." Martial, Ep. iii. 472. "Un vieux prÊtre de CybÈle, vÊtu de pourpre, y lavait chaque annÉe la pierre sacrÉe de Pessinunte, tandis que d'autres prÊtres poussaient des hurlements, frappaient sur le tambour de basque qu'on place aux mains de CybÈle, soufflaient avec fureur dans les flÛtes phrygiennes, et que l'on se donnait la discipline,—ni plus ni moins qu'on le fait encore dans l'Église des Caravite,—avec des fouets garnis de petits cailloux ou d'osselets."—AmpÈre, Hist. Rom. iii. 145. The Campagna on this side of Rome is perhaps more stricken by malaria than any other part, and is in consequence more utterly deserted. That this terrible scourge has followed upon the destruction of the villas and gardens which once filled the suburbs of Rome, and that it did not always exist here, is evident from the account of Pliny, who says: "Such is the happy and beautiful amenity of the Campagna that it seems to be the work of a rejoicing nature. For truly so it appears in the vital and perennial salubrity of its atmosphere (vitalis ac perennis salubritatis coeli temperies), in its fertile plains, sunny hills, healthy Under the emperors, the town of Ostia (founded by Ancus Martius) reached such a degree of prosperity, that its suburbs are described as joining those of Rome, so that one magnificent street almost united the two. There is now, beyond S. Paolo, a road through a desert, only one human habitation breaking the utter solitude. |
|
